returned to the location where i took the photograph that is featured on the upcoming album call, response. the original photography was shot during a flood before any of the actual recording of the album began. it was kind of fitting now that the album is resolved to revisit the location and find the river level at its other extreme.
condition: (as determined by the twenty-ninth junto project) make a field recording of source material that involves running water to act as a foundation for a sound work providing both rhythmic and melodic material. add elements and treatments to the foundation recording, with the intention of highlighting the water’s internal sense of rhythm and melody, while keeping the original recording recognizable. duration should be between 2 and 4 minutes.
process: melodic content was produced from a field recording of a river as the only source material using a resonant filter and reel to reel tape loops. the recording documents the gradual removal of elements allowing different elements to surface.
condition : (as determined by the fifth junto project) make a field recording from everyday life and use the recording as a foundation for a composition layering additional sounds, 3-5 minutes in length, while keeping the original recording discernible in the final mix.
location : mississippi river lock and dam, upper st. anthony falls, minneapolis, minnesota. the original field recording was captured while traversing the terrain starting at an elevated out-skirt and ending at a melting block of ice and snow draining at the river basin. i am first familiar with the space from drawing and painting on site. there are pockets of dynamic spaces tucked around the architecture of the facility filled with trees, river shore, mud, sand and coarse rock. the sounds-cape of the location is equally rich, with man-made sounds of nearby traffic and the drone of the turbines contrasting more natural aspects such as falling water, melting ice, birds and diverse terrain underfoot.
intent : my initial aim with the work was to allow the shifting diversity of the location and presence of the original field recording to stay paramount, while adding additional melodic and textural elements to further articulate the already present tension and atmosphere.
process : after the field recording was collected and put down as a foundation, additional improvisations were woven throughout by multi-tracking on open reel tape in the following order:
1 : harmonium, closed tape loop
2 : acoustic guitar, closed tape loop
3 : acoustic guitar, rubber mallet, tape feedback + closed tape loop
4 : contact mic surface, toy bird call, multi-rods, glass slide, breath